Incredible Soundtracks #25: Rocky (Conti)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I think it took me until Rocky III before I thought, sod it, I need to get the soundtrack. At the time, I was also jogging, so that is always going to help. I considered getting the Rocky Balboa soundtrack but decided against it as I prefer the completest element to owning a full soundtrack from a single film. And also, a 30th Anniversary was available of the original soundtrack, remastered. So that pulled me to it also.

I'm sure half of the choice-picks come as no surprise...

1. Gonna Fly Now - Iconic and unforgettable. It really boosts your spirit as well when running. There is this underlying element which, slowly, rises behind the brass that peaks when the strings 'take the lead'. Fantastic.



3. Going the Distance - The song which forces us to cheer. The solemn, slow - almost, marching - beginning before bringing up the tempo into celebratory brass. Again, great to listen to while running a tough stretch.



8. You Take My Heart Away by DeEtta Little and Nelson Pigford - Was there a love-song, with words, to the tune of 'Gonna Fly Now'? Yes indeed - Enjoy!

Incredible Soundtrack #24: Hannibal (Zimmer)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

This is such an important soundtrack to me. Hannibal was the first 18-rated film I saw at the cinema (at the tender age of 16) and I loved the film. Such class and beauty - and it was the first time I fell in love with the city of Florence. Shortly after watching the film, a close friend became infatuated with Anthony Hopkins, even using Vide Cor Meum in a performance in college. I loved the song and had to hunt down the soundtrack. I had the soundtrack. I lost the soundtrack. I re-bought the soundtrack. Since buying the soundtrack (twice), I have listened to it,in its entierety, hundreds of times. The music flows so effortlessly and, in some cases, have no gaps between the tracks.

In fact, I have listened to the soundtrack so much that Vide Cor Meum - the reasons I purchased the CD in the first place - is rarely played whilse tracks 1 through 11 are played often. Let My Own Home be My Gallows becoming a favourite.

And, for all you fans of Kingdom of Heaven, the recycled use of Vide Cor Meum in that film was one of the stupidest ideas Ridley Scott has ever had.

9. Let My Own Home Be My Gallows - A 10-minute track that is used as Francesco Pazzi meets his fate in the Palazzo Vecchio off the Piazza delle Signoria. Subtle-at-first and slowly building up to a grand and deeply unsettling madrigal section before Anthony Hopkins begins a monologue used in the film.

10. The Burning Heart - I love the romance within this track as strings lead the song. Again, one of the three tracks a segment of Anthony Hopkins dialogue is used.

12 - Vide Vor Meum - The reason I bought the CD and maybe a reason you should buy it too ...

Incredible Soundtrack #23: Drive (Martinez)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Though I have not written an analysis, I have stated my stance regarding Drive before. I don't think the film is as good as people make out - it's well made, granted, but it isn't flawless. The soundtrack on the other hand is definitely one of the high points. The film would be ruined without it - seriously, without the soundtrack the film would never get such strong supporters.

Martinez's soundtrack is electronic, evoking the cool of the eighties. I personally think that Drive owes it's style to Grand Theft Auto: Vice City rather than any mark of genius accredited to Winding Refn - and a soundtrack identifying the same era clearly is a necessity if you are trying to place the film in the same type of world.

Interestingly, my choice of tracks are by artists other than Cliff Martinez ... but they all feature on the soundtrack so are very much under Martinez's juristiction

1. Nightcall by Kavinsky and Lovefoxxx - Apparently, Winding Refn chose this song himself  after looking through Johnny Jewel's back-catalogue (Jewel was apparently a 'mixer' for the soundtrack)



2 - Under the Spell by Desire - Akin to Nightcall, this was another amazing track from Johnny Jewel.



5 - Tick of the Clock by The Chromatics - This song was used only recently in an advert for a camera. As soon as it played I knew it. I think Matrinez's entire soundtrack owes something to this song. Moody, steady - very-much like a patient, skilled driver. Again, this is a track which Johnny Jewel is credited for.

Incredible Soundtrack #21: Titanic (Horner)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I recently watched Titanic in 3D at the Waterloo IMAX. I am personally a huge fan of the film and watched it twice at the cinema, multiple times on my sisters VHS, many times on the first-edition single-disc DVD and a few more time on the not-so-spectacular-4-disc DVD boxset. Chance are, I'll get it on BluRay. It goes without saying that I bought the soundtrack and, though not a huge fan of Celine Dion's 'My Heart Will Go On', I think Horner's score has some great sections. But I write with a slight frustration as the one thing I cannot stand is 'fake' instruments. You know what I mean - fake 'aaah' choirs and fake strings. You know from the pacing of the note that it is a 'type' of sound attached to a keyboard, rather than an actual choir. That's why I hate the track 'Southampton' ... but other tracks uuse much more orchestra, rather than fake 'aahs'.

4. Rose - When I first heard the album, this was my initial favourite track. I'd put this track on any day, over Celien Dion. Much more subtle and gentle. I think I played it too much, because the 'my-heart-will-go-on'-theme simply became a little bit too overbearing after a while, but it is the theme of the film, so this is the only way I will ever listen to it. Soft, subtle and romantic.

 

7. Hard to Starboard - This track begins with that falseness I mentioned in the opening paragraph, but as soon as the song gets 1-minute in, the pace picks up as percussion sounds the fear and panic we see in the film. Its that balance between the grand, epic size of an iceberg approaching the ship combined with the fast-pace reactions and alarms sounding off on the ship. One is slow and steady, one is fast and busy - a great track.

13. An Ocean of Memories - This is the final track in the film as the camera pans over old-age Rose sleeping before fading into a revisit to the ship sleeing at the bottom of the ocean, before taking her back to 1912 and meeting Jack again. I love the way the music captures the beauty and vastness of an ocean, before harking back to the theme of the film. It recaptures the final moments of the film and the life Rose was able to lead due to Jack's sacrifice. A great finish to the film that Horner scored so well.

 

Incredible Soundtrack #20: Space Jam (James Newton Howard)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Considering James Newton Howard composed the score, you would think that I would write about that but alas no. I'm going down nostalgia aisle and I reflect on one of my first soundtrack purchases: Space Jam.

I bought the ex-rental chunky-video-case from a little store in Broseley when I was roughly 14 years old. I hadn't seen it at the time but - wanting to be cool and hip - I knew I needed to know a film featuring Michael Jordan and Bugs Bunny. At the time, I Ioved the film and - as one of three videos I owned - I watched it many, many times. So much so, that the soundtrack became ingrained in my mind... and so I choose ...

3. Space Jam (Quad City DJ's) - Ridiculously enough, this was the song that I was most excited to listening to again. Happy, happy times.




4. I Believe I Can Fly (R.Kelly) - Unforgettable, and one of those songs that are copied time and time again on X-Factor and [insert crap pseudo-music competition here] shows. Shame that R.Kelly is a perv.



5. Hit 'Em High (Coolio/B-Real/Busta Rhymes/LL Cool J/Method Man) - Younger Bruv Graham loved this song. And played it too many times and, though he mocks me for knowing the whole of the first verse of Molella and the Outhere Brothers "If you Wanna Party" when I'm sure he knows the full lyric to this... Greeeetings Earthlings ....

Incredible Soundtrack #19: Robin Hood, Prince of Thieves (Kamen)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Robin Hood: Prince of Thieves was discussed only within the last year when Ridley Scotts versio of Robin Hood was released. One thing which Scott's version did not have - was a good soundtrack. Michael Kamen's score for Robin Hood: Prince of Thieves is immediately recognisable. Even now, prior to every Disney film, the theme rings over the Disney titles. Or at least all my Blu-Ray's start with this music.

1. Overture and a Prisoner of the Crusades - This is the song which is used in the Disney openings. In the film, it plays over a very slow pan across the Bayeux Tapestry. Wihtout music, it could appear boring and uninteresting ... but with this epic music it gives the 2D tapestry life and energy. As if history may appear flat and 2D, the reality is that it was filled with adventure and excitement. A brilliant start to the film.




7. Marian at the Waterfall - Back in 2002 I purchased a CD which included a broad range of tracks from Universal soundtracks. I vividly remember seeing this track 'from Robin Hood: Prince of Thieves' and, as I didn't have the soundtrack at the time, I was keen to have tracks from the soundtrack. It was not the song I thought, but a sweeter, sensitive version of the love theme from the film. The more I listened the more I enjoyed the almot-tudor sound to the music.




9. Everything I Do (I Do It For You) (Bryan Adams) - How many weeks was this at the Number #1 spot for? It spent sixteen weeks at the number #1 spot in the UK and it has been covered by artists including Hank Marvin, Henry Mancini, Brandy and Faith Hill and Katherine Jenkins. And The Wombats. A great song and, the original, played during the credits remains strong... but, personally, for a long time I got Kevin Costner and Bryan Adams mixed up.

Incredible Soundtrack #18: Collateral (Newton Howard)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Now things get tricky. Though James Newton Howard composed the score to Collateral, from the soundtrack, I have not chosen a single track from the score itself. I am in no way saying how the score is flawed - far from it - but I do believe that the stand out tracks are not his.

In terms of 'setting the tone', Rothrocks additions add pace and adrenaline, whilst as Max (Jamie Foxx) flicks through the range of various radio stations we get excerpts from artists such as The Roots, Groove Armada and Calexico. Even Antonio Pinto, Bach and Paul Oakenfold make an appearance. Suffice to say, its a tough call when choosing which three tracks I will focus upon so - knowing that some tracks are good, I have tried to choose the tracks which best represent the film. (I will mention briefly how Paul Oakenfold's Ready Steady Go does not make an appearance, despite its fantastic use in 'the club' sequence, and it is due to fans of The Bourne Identity who would argue how we first heard the song as Matt Damon drove his mini through the streets of Paris way back in 2001 - a couple of years prior to Collateral)

1. Briefcase (Tom Rothrock) - A brilliant start to the film as, with one small exchange (Y'know Statham was originally going to play the role of 'Max'...) the equilibrium is disrupted and the lives of Vincent and max are changed forever. Pace, adrenaline and - at least for me - I was hooked...



8. Shadow on the Sun (Audioslave) - When Chris Cornell released You Know My Name I only knew him from this single track by Audioslave. It has a prominent use in the film as the parrallel between the wolves wandering LA is seen by Max and Vincent. The song continues as the two drive off further, but the recurring guitar motif continues to ring like an alarm bell - "Max, you need to do something..."




16. Requiem (Antonio Pinto) - I found a full version of this track and I would have used it had it not become so busy in the final section of the song. The version I found features on the soundtrack and slowly feeds the end of the film back to normality - though we have witnessed an unforgettable night for Max and Vincent, we also see the start of a new day. The workers beginning their daily routine and Max, hopefully, starting the day with a new outlook ...

Incredible Soundtrack #17: Back to the Future (Silvestri)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

This week I will try and release a few of these posts - but there will be a twist. In the first instance, the majority of the soundtracks will not rely on the scores to provide exposure or discussion on the film itself. Though Alan Silvestri composed the score for Back to the Future, it is the [easily accessible] soundtrack with some classic iconic 80's tracks.

1. The Power of Love (Huey Lewis and the News) - Interestingly, this song, through scoring the number one spot on the billboard charts marked the first worldwide success for Huey Lewis and the News. Even Huey Lewis himself managed to nab a cameo in the film - judging Marty McFly's band at the school when they play an instrumental 'rock' version of the song. Forever associated with the 80's, this song with never lose its ties with Back to the Future.



3. Back to the Future - There are only two tracks on the album from the score, this track and an 8-minute overture. I have chosen this one as it has no filler spot - throwing us straight into the theme and for 4-minutes filling us with heroic gusto. Alan Silvestri at his best and, dare I say it, creating a forever iconic theme to stand alongside John Williams unforgettable 80's themes such as E.T. and Indiana Jones.


10. Johnny B. Goode (Marty McFly and the Starlighters) - On the soundtrack, this song is credited to the ficiotnal characters of the film, when in fact the artists are Harry Waters Jr (as Marvin Berry), Mark Campbell (as Marty McFly) and Tim May (performing the guitar solo). Following on from the film, I can imagine many young teenagers finding a new love for 50's music. Unlike Mr Sandman (by The Four Aces), at least Johnny B Goode is on the soundtrack!

Incredible Soundtrack #16: X-Men: First Class (Jackman)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

This is one of my more recent soundtracks. Normally I choose soundtracks with a little bit more established credability and, with X-Men: First Class, it is new enough to have garnered a bit attention but I don't think that it will remain 'as important'. But, c'est la vie, I like it at the moment. It is worth noting that the composer, Henry Jackman is no relation to Hugh Jackman.

Henry Jackman has, on the other hand, worked with Hans Zimmer before - credited as 'music arranger' for Zimmers soundtrack to The Dark Knight. You can hear the repetetive string arrangement Zimmer has used before and, I believe, sounds a little too similar to the Tron: Legacy soundtrack which, though composed by Daft Punk, I believe was hugely influenced by Zimmers composing style.

1. First Class - It was this opening track that gained my attention in the first instance. It sounds freakishly like the opening track for Tron:Legacy, but I think it has a little more of an 'heroic' edge - which obviously suits X-Men:First Class...





11. X-Training - There are two memorable montage sequences in the film. The first one, whereby they recruit the mutants uses a Gnarls Barkley song ('an instrumental version of 'Run'), the second one is when they are training. Both of which are brilliant. This is the training one.



19./20. X-Men/Magneto - The 'Magneto' theme is brilliant - and there are multiple different versions of the theme in the soundtrack. These last two tracks are the most definitive - especially the second track that plays during the closing credits. These specific choices use some brilliant electronic sounds that signify the magnetic power Magneto has and it sounds great!

Incredible Soundtrack #15: Sunshine (Murphy/Underworld)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I have been looking forward to mentioning this soundtrack. As soon as I watched the film, I was desperate to hunt down the soundtrack. But it isn't easy to find. For one, you cannot buy it on CD -  it is only available via download. Obviously there are ilegal means to get the soundtrack but, officially, you can only download it through itunes. I went to alot of effort to hunt it down and, in the process, purchased the Underworld album Oblivion with Bells. A brilliant album, that holds one track from the film: To Heal. When I first purchased my ipod, I swore I would not download too much - swearing by the tangible nature of a CD case, sleeve notes and everything else. When your PC blows-up, at least you have the CD. This soundtrack made me crack and download my first album from itunes. Bastards.

3. Capa's Last Transmission/To Heal by Underworld - Incredible track: calming, peaceful and all-encompassing. And available on a CD.



6. Kanada's Death, Pt. 2 (Adagio In D Minor) by John Murphy - This track has been used so much outside of Sunshine. I always find it a little frustrating because I associate this song with Sunshine - and not, say, Kick-Ass. A great song.



19. Peggy Sussed by Underworld - This is completely more Underworld rather than John Murphy. Its powerful and bold. I won't forget feeling this song hit you in the face when the film ended on such a calm note.

Incredible Soundtrack #14: Toy Story (Newman)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Whenever we think of soundtracks, rarely do we think of bands and music artists. Lately, this has changed: The Chemical brothers and Hanna, Underworld and Sunshine, Nine Inch Nails and The Social Network - even Badly Drawn Boy and About a Boy. Randy Newman was ahead of the game early on. So much so, that for me, Randy Newman is primarily a composer. To another generation, Randy Newman is the artist behind 12 studio albums since 1968. His work with Pixar alone has also earned him much praise - as he composed all three Toy Story scores, but additionally Cars, A Bug's Life and Monsters Inc (and currently penned in for Monsters University). So, it goes without saying that he set a precedent with his soundtrack to Toy Story.

2. Strange Things - For me, this is the song the represents this film. When I was younger I was desperate to her this song because it perfectly encapsulates the playful and creative nature of 'play time'. Though the song is used for a montage showing Andy's lack of interest in Woody - it also shows Andy playing with Buzz - and the other toys - in lots of different ways.




4. Andy's Birthday - In a similar way to Strange Things this shows how varied Newmans style is. He plays with lots of different techniques that show his versatility. 




3. I'll Go Sailing No More - I had to throw this one in too - light, hopeful but very personal. One great thing about this song (and indeed the soundtrack) is how it makes that personal connection between us human viewers and the toy characters we are expected to relate to. Which we do relate to - because of many reasons, but especially the soundtrack.

Incredible Soundtrack #13: Gone with the Wind (Steiner)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I have been meaning to crack open a classic soundtrack and Max Steiners score for Gone with the Wind, I think is epic and grand enough to continue the soundtrack series with. It was tough to choose the soundtrack because nothing matches the iconic theme tune - but, I did manage to find a couple of tracks that seemed to have some interesting points for discussion.

[I have just found out that the tracks are not available on YouTube! But still ...]

Highlights from the Soundtrack available on itunes:

12. I'll Never Be Hungry Again - small hints of the theme litter this track until the final thirty seconds whereby the strings take second-place to the brass belting out the Main Theme from Gone with the Wind.

10. Escape from Atlanta - Only a short track - 2mins 48secs, but the stringed beginning has a incredible fast pace and a strange similarity to the scores Hans Zimmer and James Newton Howard completed for Nolan's Batman films. Until it becomes very 'epic' and dated ...

1. Main Title - the only one I could find on YouTube...

Incredible Soundtrack #12: The Ghost Writer (Desplat)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

One of the most important film composers recently is Alexandre Desplat. Not only has he won multiple awards - including a BAFTA for The King's Speech, a BMI Film Music Award for The Curious Case of Benjamin Button and a Silver Berlin Bear for The Beat That My Heart Skipped but he has also been nominated for many, many more. As you can see, I have chosen an underlooked gem from the last year - indeed his score for The Ghost Writer - or called The Ghost to us folk in the UK.

1. The Ghost Writer - I have never heard such a great sound, and use of, clarinets and oboes (At any rate, surely a wind instrument). The huge, demanding thump of the percussion, forces you to watch and listen...




3. Travel to the Island - Beginning with a strong use of strings (again, I think the spy-like nature of the film, inevitably lends itself well to a Herrman-esque use of strings) it sets up an almost sinister element to the mix before retreating to the well known theme of the film -but this time more expansive and all-encompassing. With small hints of a childish twinkle that, I believe, is for Ewan McGregor's nameless and naive character.



12. The Predescessor - An almost dreamlike state is created with an under current of horror-like un-even strings. The chords slowly hint at the main theme without becoming too defined.

Incredible Soundtrack #11: American Beauty (Newman, Thomas)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I have always loved the soundtrack to American Beauty. Originally, I had the two well-known tracks "Any Other Name" and "Dead Already" featuring on a soundtracks compilation. But I still wanted more. I then found a soundtrack in a charity shop for a couple-o-quid and realised that only those two tracks from Newmans score featured on this soundtrack - the rest of the tracks consisting of the artists featured - such as The Who and Free. Don't get me wrong, I like the tracks, but it wasn't Thomas Newman's score.

Eventually, I hunted the score itself down and - because you can find the aforementioned tracks very easily, I have have chosen tracks which only feature on the score soundtrack

5. Mental Boy - This track begins with a sinister sound that is unsettling before the piano softly plays a melody that is innocent and sensitive. A great example of the balance Mendes tries to create in the film between innocence and deeply unsettling problems that affect families.



11. Weirdest Home Videos - Whilst we watch the sordid, peeping-tom nature of a character in the film, it is accompanied by the innocence of this track. It changes you feeling about what you are watching and distorts your perception. This is a perfect example as to how the soundtrack truly changes a film completely.



19. Still Dead - Almost a 'remix' of Dead Already but with much more percussion. A great example of the almost tribal soundtrack Nedwman creates.

Incredible Soundtrack #10: Jurassic Park (Williams)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Anyone who has followed this site for any period of time will be well aware of my obsession with Jurassic Park. So it seems that it would be better to get the Incredible Soundtrack out the way sooner than later. Suffice to say that Jurassic Park was a soundtrack that, had it been easier to find, I would have hunted down a long time ago. Instead, I had to wait for the innovation that was Ebay to prompt me to hunt it down. I vividly recall having a difficult time finding the CD at any kind of reasonable price prior to this - as I simply wasn't prepared to spend over £10 on the CD. Luckily, Ebay provided the option for a very fair price.

This is one of those soundtracks whereby John Williams manages to have multiple melodies complemented by two - maybe three? - overarching themes that, on their own, stand high amongst William's greatest themes. I recall good-friend Rhys explain how the Jurassic Park  soundtrack was the last epic John Williams score. I think back to the films since 1993 - Schindler's List, Saving Private Ryan, Catch Me If You Can, etc - and he may have a point. As good as those soundtracks are, they are not as iconic as Jurassic Park. Having said that, Harry Potter and the Philosopher's/Sorcerer's Stone was John Williams and, I think we can all hum 'Hedwig's Theme' to our hearts content.

4. Journey to the Island -  What is so impressive about this song is the wide and varied different melodies John Willaim's composed. We jump from an almost child-like excitement as the song begins to then move into the horn blasting out the definitive theme. Even following the main theme, we move into a lesser known melody that combines a little of the theme with a sprightly bounce that, again, recalls childhood wonder. And, then onto the fourth 'melody' as the fear begins to creep in and then evaporates as the brachiosaur is seen. The second iconic theme before returning to a more formal march, descending in the fear about what this could mean... Its a long track [And that was a long companion piece of writing!], but even without owning the soundtrack I could virtually hum this entire part of the sountrack because it always filled me with excitment as I 'entered' Jurassic Park.

8. My Friend, the Brachiosaur - The deeply unsettling beginning introduces one of the more romantic melodies in the film. The melody captures Alan Grants wonder and complete amazment at the dinosaurs. The same sequence shows Tim and Lex look, with wonder, at how fascinated he is with the brachiosaur. But again, the theme ends with the conflict between what is amazing and wonderful ... and what is dangerous and life-threatening. Beauty and Fear. It recalls Close Encounters of the Third Kind a little bit, but then, playfully, includes that childhood element again. What is stunning about this soundtrack is how clear Williams intentions are!



7. Welcome to Jurassic Park - The piano-riff begins the most memorable track as we begin from innocence and, almost fairy-tale-like, theme, it then builds into every other iconic theme from the incredible film: Jurassic Park.

Incredible Soundtrack #9: Forrest Gump (Silvestri)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Alan Silvestri I have always admired. His unforgettable score for Back to the Future I was always under the impression was John Williams, but Silvestri has in fact scored all of Robert Zemeckis' films including The Polar Express and Who Framed Roger Rabbit?. Outside of Zemeckis' movies, he has alaso got Predator, The Abyss and the up-and-coming Captain America: The First Avenger to his name. But alas, this is his most memorable...


1. I'm Forrest ... Forrest Gump - A gentle, soft beginning that summarises the fleeting nature of chance, whilst also encapsulating the fragility of life.



14. Jenny Returns - The Soundrack is available in two different editions. One version is a double-disc and includes two tracks by Silvestri - "I'm Forrest... Forrest Gump" and "Suite from Forrest Gump" whilst the rest of the soundtrack is music tracks that added to the context of the film - pop music including Elvis Presley, Aretha Franklin and Randy Newman. Its amazing to think that Silvestri managed to fit into the film and important, memorable and definitive score behind so many pop tracks. The last two tracks are exclusively from the score CD and show the depth and emotion included - this tracks really highlights how personal some of those tracks are.



17. Run Forrest Run - Full of hope and success in a pretty depressing story otherwise. A boy who can't walk, whose mother sleeps with teachers to ensure her child gets the best education, an emotionally unstable, drug-addicted, abused-as-a-child friend who he loves so much, his best friend dies on the front line in a war many did not believe in. Truly fascinating that this inspiring track is one of many signature melodies Silvestri created.

Incredible Soundtrack #8: Tron: Legacy (Daft Punk)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I think everyone has agreed that the best thing about Tron: Legacy was the soundtrack. On the one hand we have electronic duo Daft Punk creating the score. The use of pop artists creating scores goes right back to Simon and Garfunkel creating the soundtrack for The Graduate and Badly Drawn Boy composing the score - and songs - for About A Boy. In terms of electronic artists, who I love, we have Underworld who composed the soundtrack for Sunshine with John Murphy and, already discussed, Trent Reznor working on The Social Network with Atticus Ross, whilst The Chemical Brothers have only recently worked on the soundtrack to Hanna and, what looks like as part of their job, they are mentioned on pretty much every trailer too.

What is interesting is that Daft Punk, in the liner notes, thanks Hans Zimmer and John Powell. Aka, John Powell of The Bourne Identity and, recently Oscar-nominate, How To Train Your Dragon and, well, we all know Hans Zimmer. I think it is clear that some of their styles of soundtrack feed into Daft Punk's efforts. I'll mention it in the notes at any rate...

2. The Game Has Changed - This track presents how accomplished Daft Punk are in combining modern electronica with a more classical use of strings. I think, as previously mentioned, there is more than a hint of John Powell's Bourne scores influencing this track ...



13. Derezzed - This is just a Daft Punk track on a soundtrack. Works well in the film (when the musicians make their cameo) and, my only problem, is that I wish it was longer... 



20. Flynn Lives - This is my favourite track, by far. Daft Punk use the entire Orchestra to branch out and, as the song begins with the pulsating strings before the calming - what sounds like a heart monitor - continues the pace. The use of the 'Tron' theme is used throughout the soundtrack and this is where the theme is used to an epic scale as brass slowly, almost hum the theme, on the top of the strings in the background. I think this is where Zimmers influence seems much more apparent - and as a fan of James Newton Howard, I am sure that Newton Howard's Signs soundtrack may have played a part too. 

Incredible Soundtrack #7: The Dark Knight (Zimmer/Newton Howard)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

As previously mentioned, James Newton Howard is one of may favourite composers and Hans Zimmer would come pretty high up if I was to mount a list. So a combination of both Hans Zimmer and James Newton Howard was going to inevitably perk my interest.

I think we can all agree that The Dark Knight and Batman Begins both have incredible soundtracks, but what is fascinating about The Dark Knight is the off-kilter, screwy 'Joker' element thrown in to the mix. The tracks I have chosen represent that additional element to some extent and show how it is possible that The Dark Knight soundtrack is superior in this single element. Having said that, I do not own the Batman Begins soundtrack so if you would counter-argue, please do so in the comments below.

Here we go - the chosen tracks ...

2. I'm Not A Hero - I think the first time I heard this track, track two, I knew I had made a worthy purchase. It often happens that you choose a soundtrack and find the one track which is good whilst the rest are not as strong. Not with this album. This track alone begins with such a plucked-pace that you cannot help but feel undercover and as if you are some sort of secret agent.



8. Like A Dog Chasing Cars - My favourite track on the album. The throbbing pace and pulsating percussion shortly after 1.08, whilst the strings continue the pace as if to introduce the theme. Flawless.



14. A Dark Knight - A whopping 16.15 in length this is deepply brooding and unsettling. The, almost tragic ending of The Dark Knight is acted out upon this section of soundtrack. Batman has seen his love, Rachel, die. Two-face - The White Knight - has destroyed himself and Batman must turn himself from a hero into the enemy for the sake of Gotham. The romance, tragedy and fear and path that this leads to ... is unknown. Until The Dark Knight Rises.

Incredible Soundtrack #6: Edward Scissorhands (Elfman)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Danny Elfman, if I'm honest, I'm not a big fan of. Half the time he has that samey Men-In-Black/Spiderman music used to open films - the whole chunk-chun-chunk-chunk thing and thats a little frustrating. But he has been used multiple times and, the first time you hear the Men In Black theme or his 'hero' theme, it does sound pretty cool. Intrestingly, he has also composed other themes that are a far call from this style - namely The Simpsons opening-credits music and the multiple scores he has composed for Tim Burton, including The Corpses Bride, Sleepy Hollow and - my personal favourite - Edward Scissorhands.

Interestingly, the soundtrack is split into two acts - 'Edward Meets The World' and 'Poor Edward'. This corresponds with the film, but I don't think adds very much to the soundtrack. Infact, my final choice of song, though placed firmly in the 'Poor Edward' feels like quite the opposite. At any rate, lets get stuck straight into the three choices:

7. Edward Meets The World: Ice Dance - this is the most memorable theme. It is in equal-part full of wonder and amazement and yet still childish in true fairytale form. You literally feel you are being gently lifted into this alteranate gothic universe which is, rather than dark and morbid, it is heavenly and beautiful.





9. Edward Meets The World: Edwardo The Barber - The more playful side to Elfman comes through on this track. The fact that his Simpsons theme soon followed is no suprise. The track shifts gear as, in the film, Depp's Edward Scissorhands creates different masterpieces of women's hair. 





15. Poor Edward: The Grand Finale - This is primarily a reprise of the Ice Dance, but this time it is muhc more sweeping and grand - opening the theme to include a much broader range of instruments. The entire orchestra, rather than a chorus, bringing the theme to the forefront as if to ensure that we know that, what is beautiful, is Edward himself.

Incredible Soundtrack #5: E.T. (Williams)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

I have two John Williams soundtracks to be revealed over the next week I hope. This is the first one. As you can see on the A-Z, we are fast-approaching the 'E' section and this film, of course, will be amongst the choices. We could celebrate John Williams so much - his soundtracks are truly the '"stuff of legend". Star Wars, Superman and Harry Potter are three themes that he created. And none of them are directed by Spielberg - a director who Williams has worked alongside since The Sugarland Express.

E.T. is a soundtrack that, on one hand, it had to be family-friendly and - for want of a better word - 'fun'. On the other hand, it had to be quite sinister, spooky and scary. Its about a kid making friends with an alien. Its about the government trying to capture and experiment on the alien. Its about an alien changing a family. Its about a friend  of a child dying. And people trying to kidnap the friend. So many themes and factors to include on the soundtrack - which is why it is one of Williams best.

2. Far From Home/E.T. Alone - This is the first choice because it initially presents the flute whistling an innocent and 'wonder'-like theme before becoming much darker and sinister and scary. But it becomes ten-times better when the real E.T.-on-the-run theme begins following the epic sci-fi strings at 3.33. Beginning with the theme, on its own, lonely and imposing before ... the chase begins a 4.33... 



20. Escape/Chase/Saying Goodbye - I think the vast majority of E.T. fans will recall this section. All the music from when Elliot and co set off in the van, through to the bike-chase (you can visualise the jumps as the bikes speed over those dusty hills - at 4.38 if you want to skip to it), through to the flying-on-bikes, through to the final exit as E.T. goes home. Emotion in my face every time.



21. End Credits - Something so simplistic about turning the theme into a piano riff, but as soon as the credits begin and this stunning piano-playing begins it just clarifies in your mind how great a composer John Williams is. I'd say underrated, but he's not - he is seen as the best composer in Hollywood and for good reason. This songs shows why.